‘CHINGS AND ENGRAVINGS 


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DR. WILLIAM HIRSCH 


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AN INTERESTING COLLECTION 
OF 


ETCHINGS, ENGRAVINGS AND 
OLD WOODCUTS 


FROM THE COLLECTION OF 


DR. WILLIAM HIRSCH 


OF NEW YORK 


WITH ADDITIONS FROM OTHER CONSIGNORS 


FinE EXAMPLES OF THE WORK OF DureER, HapeENn, MEIssoniER, 
Mutter, Tissot, Van Dyck, WHIsTLER AND OTHER 
DISTINGUISHED ARTISTS, INCLUDING MANY COLORED 


MezzotTints spy S. ARLENT EpDWarps 


TO BE SOLD 


THURSDAY AND FrRipAy EVENINGS 
OcToBER 19 anp 20, 1916 


AT 8:15 Oo’ CLOCK 


On Public Exhibition from Monday, October 9th 


THE ANDERSON GALLERIES LA 
Mapison AVENUE AT FORTIETH STREET 


NEW YORK 


CONDITIONS OF SALE 


1. All bids to be reR LoT as numbered in the Catalogue. 

2. The highest bidder to be the buyer; in all cases of disputed bids 
the lot shall be resold, but the Auctioneer will use his judgment as to 
the good faith of all claims and his decision shall be final. He also 
reserves the right to reject any fractional or nominal bid which in 
his judgment may delay or injuriously affect the sale. 

38. Buyers to give their names and addresses and to make such 
cash payments on account as may be required, in default of which 
the lots purchased to be resold immediately. 

4. The lots to be taken away at the buyer’s expense and risk with- 
in twenty-four hours from the conclusion of the sale, and the re- 
mainder of the purchase money to be absolutely paid on or before 
delivery, in default of which The Anderson Galleries, Incorporated, 
will not be responsible if the lot or lots be lost, stolen, damaged, or 
destroyed, but they will be left at the sole risk of the purchaser, and 
subject to storage charges. 

5. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of purchases, no lot will be delivered during the sale. 

6. All lots will be exposed for public exhibition in The Anderson 
Galleries before the date of sale, for examination by intending pur- 
chasers, and The Anderson Galleries, Incorporated, will not be re- 
sponsible for the correctness of the description, authenticity, genu- 
ineness, or for any defect or fault in or concerning any lot, and 
makes no warranty whatever, but will sell each lot exactly as it is, 
WITHOUT RECOURSE. But upon receiving before the date of sale, ex- 
pert opinion in writing that any lot is not as represented. The An- 
derson Galleries, Incorporated, will use every effort to furnish proof 
to the contrary, and in default of such proof the lot will be sold sub- 
ject to the declaration of the aforesaid expert, he being liable to the 
owner or owners thereof for damage or injury occasioned by such 
declaration. 

7. TeRMs CAasH. Upon failure to comply with the above condi- 
tions any sum deposited as part payment shall be forfeited, and all 
such lots as remain uncleared after twenty-four hours from the con- 
clusion of the sale, will be resold by either private or publie sale at 
such time as The Anderson Galleries, Incorporated, shall determine, 
without further notice, and if any deficiency arises from such re- 
sale it shall be made good by the defaulter at this sale together with 
all the expenses incurred thereby. This condition shall be without 
prejudice to the right of The Anderson Galleries, Incorporated, to 
enforce the contract with the buyer, without such re-sale. 

8. Bips. We make no charge for executing orders for our cus- 
tomers and use all bids competitively, buying at the lowest price per- 
mitted by other bids. 

9. The Anderson Galleries, Incorporated, will afford every facility 
for the employment of carriers and packers by the purchasers, but 
will not be responsible for any damage arising from the acts of such 
earriers and packers. 


Priced Copy of this Catalogue may be secured for $1.00 


The Anderson Galleries 


INCORPORATED 
MADISON AVENUE AT FOoRTIETH STREET. NEW YORK. 


TELEPHONE, MurRRAY HILL. 7680 


SALES CONDUCTED BY MR. FREDEBICK A. CHAPMAN. 


a dl Ven tA ok | ee 
THE GETTY Cente 


) HOEDAY 
Lis 


- 


_AN INTERESTING COLLECTION 
OF 
ETCHINGS, ENGRAVINGS AND 
OLD WOODCUTS 
FROM THE COLLECTION OF 


DR. WILLIAM HIRSCH 


FIRST SESSION 
Thursday Evening, October 19, 1916, at 8:15 o’clock 
Lots 1 to 161 


NOTE—By permission of Dr. Hirsch some additions from other consignors have been 
made to this sale. These are indicated by asterisks. 


HEINRICH ALDEGREVER 


1 THE HISTORY OF ADAM AND EVE. 1540. 
Painter-engravings. Bartsch 1-6. The complete set. 
From the Gersticker collection. (6). 

2 HERCULES KILLING ANTHEUS. 1550. 


Painter-engraving. Bartsch 88. Very good impres- 
sion; the inscription border is missing. 

HERCULES KILLING NESSUS. 1550. _— Painter-en- 
graving. Bartsch 93. Fair impression. From the col- 
lection of H. F. Sewall. Both from the “Labors of 
Hercules.” (2). 


ALBRECHT ALTDORFER 
8 ST. SEBASTIAN. Painter-engraving. Bartsch 23. 


WILLIAM J. ALLLINGHAM 


4 WHITE BIRCHES. 1890. 


Etching, after F. Carless. Remarque proof on Japan- 
ese vellum, signed by both artists. Good for framing. 


3 


10 


11 


12 


13 


AMERICANA 


COLUMBUS. AM. VESPUCCI. 

Two lithographs by Bland, and seven other portraits. 
Also the Declaration of Independence surrounded by 
the arms of the thirteen original states. Published by 
the Holland Studio. (10). 

FRANKLIN AT THE COURT OF ST. JAMES. 1774. 
Engraving by Whitechurch, after C. Schussele. Old 
impression before the plate was cut down. 

PORTRAITS. 


Of Andr. Johnson, Stonewall Jackson, Hancock and 
David D. Porter. The three latter proofs, on India 


paper. (4). 
PORTRAIT OF GEORGE WASHINGTON. 
By T. Kelly. Also the seven first Presidents, litho- 
graph by Cook, E. H. Chapin and J. Calhoun. Both 
lithographs. (4). 
TWENTY-FIVE SMALL PORTRAITS. 
Among them one by St. Mervin. (25). 
NINE ENGRAVINGS. 
Illustrating American History. Small 4to. (9). 
TEN AMERICAN VIEWS. 


Engravings in small 4to. Among them Fort Ticon- 
deroga, West Point, Lake Champlain, The Niagara 
Falls, ete. (10). 


ADOLPHE APPIAN 
LE VILLAGE DE CHANAZ (Savoie) 1866. 


Painter-etching. | Early impression on aqua-fortistes 
paper before Chevalier’s name was substituted for Lu- 
quet’s. 


SMALL LANDSCAPES WITH POPLARS.,. 1865. 
Painter-etching. (2). 


UNE MARE, Evirons de Rossillon. 1876. 


Painter-etching. Early impression on aqua-fortistes 
paper, before Chevalier’s name was substituted for 
Luquet’s. 


14 


15 


16 


1% 


18 


19 


ADOLPHE APPIAN—Continued. 
LYETANG DE FRIGNON A CREYS (ISERE). 
On India paper. From the Gazette des Beaux-Arts. 


CABANES DE PECHEURS SUR LES COTES 
D’ITALIE. On paper with the water-mark “G. F.” 


RUE DU VILLAGE D’ARTEMARE, AIN. Beraldi 
No. 1. All painter-etchings. (3). 


OTTO BACHER (N. Y. Etching Club) 


CHIOGGIA NEAR VENICE. 1888. 


Etching, after H. N. Ranger. Remarque proof on 
vellum paper. Signed by both artists. Good for 


framing. 


CORNELIS BEGA 


EIGHTEEN Painter-etchings. 
Dutuit 10, 11, 12, 13, 16, 17, 18, 19, 20, 23, 25, 26, 27, 
28, 29, 30, 31 and 34. Printed on loose India paper. 
(18). 


HANS SEBALD BEHAM 
THE VILLAGE WEDDING. Plate No. 8. 


Painter-engraving. Bartsch 161. Good impression. 
From the collection of H. F. Sewall. 


NICOLAAS BERGHEM 
THE HERD CROSSING A BROOK. 


Painter-etching. Dutuit 9. Early impression; on 
paper with the water-mark “Folly,” Wibiral 4e. 


JEAN FRANCOIS BOUCHER 


BOY HOLDING A BUNCH OF FLOWERS. 


Drawing in black chalk on stone-blue paper. Signed 
in pen and ink with the letter “B.’ In 1-inch bone 
ebony frame. 


20 


21 


22 


23 


24 


25 


FELIX BUHOT 


L’ADORATION DE MAGES. 
Etching, after Jean Penicaud II. Beraldi No. 25. 


UN GRAIN A TROUVILLE. 1874. 
Painter-etching. Beraldi No. 122. (2). 


L°ILLUSTRATION NOUVELLE. 
Also called “L’Enterrement Du Burin.” 1877. 
Painter-etching. Beraldi No. 124. On aqua-fortistes 


paper. 
L’HIVER A PARIS, VUE DE LA PLACE BREDA. 
1879. 


Aquatinted painter-etching. Beraldi No. 128. Proof 
on paper with the water-mark “ARCHES.” 


FELIX BRACQUEMOND 


FERNAND. Grand troisiéme réle du théatre de Montpar- 
nasse, en costume de seigneur. 1876. 
Aquatinted painter-etching. Beraldi No. 34. Third 
state; on aqua-fortistes paper. 


LA MORT DE MATAMORE. Painter-etching. Beraldi 


No. 177. Fourth state, with the title; printed on aqua- 
fortistes paper. 


REED GATHERING. Etching, after G. Jundt. (3). 


A. CALAME 


VUE DES HAUTES ALPES APRES UN ORAGE. 
Painter-etching. (Salon 1841). 
Also eight of his famous landscapes in lithography. (9). 


JACQUES CALLOT 
THE VIRGIN RECEIVING THE MARTYRS. 
Etching. 
CHATEAU GROS-BOIS. Etching by Is. Silvestre. 
ITALIAN LANDSCAPE. Etching by Perelle. (3). 
6 


26 


27 


28 


29 


30 


31 


32 


33 


34 


LUDOVICO CARRACCI 


THE VIRGIN AND CHILD ADORED BY ANGELS. 


Etching. Bartsch 2. First state (of 4) before any 
address, 


GIOVANNI BENEDETTO CASTIGLIONE 

SATYR SEATED AT THE BASE OF A HERMA. 
Bartsch 17. 

DRUNKEN PAN AND THREE SATYRS. Bartsch 18. 
Etchings printed on loose India paper. (2). 

THE SMALL ORIENTAL HEADS. 
Painter-etchings. Bartsch 32-47. Printed on loose 
India paper. (16). 

THE LARGE ORIENTAL HEADS. 


Painter-etchings. Bartsch 48-53. Printed on loose 
India paper. (6). 


CHARLES EMILE CHAMPOLLION 


SARAH BERNHARDT. 
Etching after Bastien Lepage. Beraldi No. 1. Proof 
on vellum paper. 


MARIE LOUISE. Etching by Leopold Flameng, after 
P. P. Prud’hon. 1868. Beraldi No. 365. Proof on 
India paper. (2). 


COLLLECTION OF PRINTS 


BIBLE ILLUSTRATIONS. 
Mezzotints by I. Sartin and John Martin. (36). 


BIBLE ILLUSTRATIONS. 
Engraving by P. Tanje, Fokke, Polanzini and others. 


(88). 


BIBLE ILLUSTRATIONS. 
Also Saints and Allegorical ces. by Visscher, 
Gregory, etc. (27). 


CHRISTIAN MARTYRS. 
Engravings by Lommelin; also Bible Illustrations, by 
A. Walker. (72). 


35 


36 


37 


38 


39 


40 


41 


4:2 


COLLECTION OF PRINTS—Continued. 
ENGRAVINGS. 


By Avril, Godefroy, Canot, Kilian, Le Vasseur, S. 
Smith, Vivares, Volpato and Winstanly. (25). 


ENGRAVINGS. 
By Balechou, Desplaces, Earlom and others. An in- 
teresting lot. (35). / 
ENGRAVINGS. 


Thirty-one engravings after Ew. E. Landseer. Thirty 

six Shakespeare Illustrations including his statue. 
Nine Marine Views. Fifty-eight engravings after 
old and modern masters. (134). 


ENGRAVINGS. 


One hundred and thirty engravings after Celebrated 
Paintings. Small 4to. (130). 


ENGRAVINGS. 


One hundred and seven engravings after Celebrated _ 
Sculptures. Seventeen after Statues of famous per- 
sons and fifteen after the Albert Memorial, inclusive 
a bust of the sculptor. All small 4to. (139). 


ENGRAVINGS. 


One hundred and thirty engravings after Celebrated 
Paintings. Among them some relating to English 
and French history and a few interesting portraits. 
All in small 4to. (130). 


ENGRAVINGS. 


Sixty-two Views of Germany, sixty Views of Italy and 
twenty Ports and Harbors of Great Britain, by Finden. 
All engravings in small 4to. (142). 


ENGRAVINGS. 
Seven plates of ““La Grande Galerie de Versailles,’ by 
Preissler, Surugue and Wille. 

THE FOUR SEASONS, and three of THE FOUR ELE- 


MENTS. Engravings by S. Le LeClerc, after C. Le 
Brun. (14). 


43 


44 


45 


46 


AT 


48 


49 


50 


51 


52 


COLLECTION OF PRINTS—Continued. 
ENGRAVINGS. 
Pitture Del Salone Imperiale Del Palazzo di Firenze. © 
Engravings by C. Faucy, C. Gregori, A. Faldoni and 
others. (27). 
ENGRAVINGS. 
Theatrum Passionis. A collection of engravings after 
P. P. Rubens, A. Van Dyck, J. Jordaens and others. 
(98). 
ENGRAVINGS 
By Marinus, Audran, Basan, LeGrand, LeVasseur, 
Vivares, Wagner, Earlom, Sartin, Strange, Sullivan and 
others. (25). 
GLORIFICATION OF THE REIGN OF EMPERORS 
CHARLES V. and FERDINAND I. 
By Pieter de Jode. (23). 


ILLUSTRATIONS. 
Heliotypes from Pan; Illustrations from “Die Jugend,” 
Seemann prints, photographs and other process repro- 
ductions. (47). 


ILLUSTRATIONS TO SHAKESPEARE’S WORKS. 
Inclusive three of the Boydell Gallery. (107). 


LANDSCAPES. 
By Dequevauviller, Ouvrier, Lempereur, Benazech, 
Vivares, Wood, and others. (56). 


PORTRAITS OF VARIOUS CELEBRAITIES. 
Engravings and etchings. (146). 


PORTRAITS OF CELEBRATIES. 


Engravings by Joubert, Slow, Posselwhite and others. 
Also a number of reproductions from “Die Jugend.” 


(30). 
COLOR PRINTS 


AMONG THE PINES. 
Color-lithographs by Muller vom Siel. Printed by 
Meissner and Buck, Leipzig. 

SUMMER IN THE WOODS. 1900. Color-print after 
P. Flickel. (2). 


53 


54 


55 


56 


57 


58 


59 


CAMILLE COROT 


SOUVENIR DE TOSCANE. About 1845. 
Painter-etching. Beraldi No. 1. Fourth state. On 
van Gelder and Zoonen paper. 

SOUVENIR D’ITALIE. 1865. 

Painter-etching. Beraldi No. 5. Third state. Chev- 
alier’s name is substituted for that of Luquet’s. On 
aqua-fortistes paper. 

ENVIRONS DE ROME. 1866. 


Painter-etching. Beraldi No. 6. Second state; before 
Chevalier’s name was substituted for Luquet’s. On 
aqua-fortistes paper. . 


PAYSAGE D’ITALIE. 


Painter-etching. Beraldi No. 7. Second state; before 
Chevalier’s. name was substituted for Luquet’s. On 
aqua-fortistes paper. 


DANS LES DUNES, SOUVENIR DU BOIS DE LA 
HAYE. 1869. 


Painter-etching. Beraldi No. 8. First state, on What- 
man paper. Rare. One of the master’s best plates. 


LUCAS CRANCAH (the Elder) 


THE PENANCE OF ST. JOHN CHRYSOSTOM., 1509. - 


Painter-etching. Bartsch 1. Very good impression. 
From the collections of R. Balmanno and H. F. Sewall. 


LUTHER AND HUSS ADMINISTERING COMMUN- 
ION TO SEVERAL PRINCES OF SAXONY. 
Wood-cut. Bartsch 152. 


CHRIST BEFORE PILATE. Wood-cut. Engraver un- 
known. (2). 


GEORGE CRUIKSHANK 


*60 EXHIBITION EXTRAORDINARY IN THE HORTI- 


CULTURAL ROOM. 


A Satyrical etching colored by hand. Also four por- 
traits. (6), 


10 


61 


62 


63 


64 


65 


66 


67 


68 


JACOB DE GHEYN (the Elder) 


CHRIST CRUCIFIED. 
Engraving after Crispin v. d. Broeck. Passavant 204. 
Early impression before the address of N. de Clerck. 


From the collections of Count F. J. Enzenberg and 
Baron Scheffler. 


LEOPOLD DESBROSSE 


L’ABREUVOIR. 


Etching after his own design. Signed artist’s proof 
on vellum. Good for framing. 


AU PATURAGE. 
Etching after his own design. Signed artist’s proof. 
on Japan paper. Good for framing. 


DE SCHENNIS 
ENVIRONS OF ROME. 1881. 


Etching after his own design. Remarque proof on soft 
Japan paper. Good for framing. 


CH. W. DIETRICY 


THE ADORATION OF THE SHEPHERDS. 1740. 
Painter-etching. Linck 10. Very fine early impres- 
sion. . 


ST. PHILIP BAPTIZING THE EUNUCH. 1740. 


Painter-etching. Linck 31. Very fine early impression 
with margin. From the collection of Pope Benedict 


XIV. 


\ 


DRAWINGS 
ST. MARGUERITE ASCENDING TO HEAVEN. 


Drawing. Guencini. 
ST. MAGDALEN. Charcoal drawing. 
A GORILLA FAMILY. Pencil drawing. (3). 


ALBRECHT DURER 
THE PRODIGAL SON. Before 1495. 


Painter-engraving. Bartsch 28. Good old impression 
with small repairs. 


11 


69 


70 


vg! 


72 


73 


74 


75 


76 


(ii 


ALBRECHT DURER—Continued. 
THE VIRGIN CROWNED BY ONE ANGEL. 1520. 


Painter-engraving. Bartsch 37. Good impression, 
slightly stained and the corners clipped. . 


THE VIRGIN WITH THE PEAR. 1511. 
Painter-engraving. Bartsch 41. Very good impres- 
sion, was folded; thin parts strengthened and a false 
margin. With a collectors mark unknown to Fagan. 


THE VIRGIN AND CHILD WITH THE MONKEY. 
About 1497. : 
Painter-engraving. Bartsch 42. Cut down and mount- 
ed on account of slight injuries. One of Diirer’s most 
beautiful and dignified Madonnas. 


ST. THOMAS. 1514. 
Painter-engraving. Bartsch 48. Fine impression; but 
stained and with injuries in the white paper. 

ST. PAUL. 1514. Engraving. Bartsch 50. The very de- 
ceptive copy by Jerome Wierix. The initials are scratch- 
ed out and another piece of paper is inserted. (2). 


THE PENANCE OF ST. JOHN CHRYSOSTOM. About 
1495. 
Also called “St. Genevieve.”  Painter-engraving. 
Bartsch 63. A clear but somewhat dry impression. 


THE THREE GENII WITH HELMET AND SHIELD. 
About 1507. 


Painter-engraving. Bartsch 66. From the collection 
of H. Fuessli & Co. 


THE WITCH. About 1507. 
Painter-engraving. Bartsch 67. A very fine impres- 
sion, but the white paper is soiled and was cut in two 
through the upper part of the plate. From the collec- 
tion of the Baron de Triqueti. 


THE DREAM. About 1497. 
Painter-engraving. Bartsch 76. 
THE TURKISH FAMILY. About 1495. 
Also called the “Oriental and His Wife.” Painter- 


engraving. Bartsch 85. Fine impression, closely trim- 
med and a trifle foxed. 


12 


78 


_ ALBRECHT DURER—Continued. 
KNIGHT, DEATH AND THE DEVIL. 1513. 
Painter-engraving. Bartsch 98. Good impression, but 


was injured by pealing it off from a board on which 
it had been pasted. Repaired. 


*79 THE CANON. 


80 


81 


82 


83 


Etching on iron. Bartsch 99. Closely trimmed and 
with a few oxyde spots. 


ALBERT OF BRANDENBURG (the larger). 1523. 


Also called the “Great Cardinal.” Painter-engraving. 
Bartsch 103. Very good impression; with a false 
margin. 


FREDERIC THE WISE, ELECTOR OF SAXONY. 
1524: 7 

Painter-engraving. Bartsch 104. A very clear im- 
pression on the earliest paper mentioned by Hausmann, 
with the water-mark ‘Pitcher’ H. 33. Unfortunately 
cut down to the upper rim of the two shields and lack- 
ing the entire tablet with the inscription. Two small 
tears repaired. 


THE ADORATION OF THE MAGII. 1511. 


Wood-cut. Bartsch 3. Very good impression with the 
crack in the block. On paper water-marked Hausmann 
No. 42. A tear and a few minor injuries carefully re- 


paired. 


THE PASSION (large). 1510-1511. 
Twelve wood-cuts. Bartsch 4-15. B.4 with the Latin 
text and repaired along the edges. B.5 without the 
text, late and laid down on account of imperfections. 
The Nos. 6, 11, and 13 without the text, on paper 
water-marked with the Coat-of-arms of Augsburg, a 
variation of Hausmann No. 50. The Nos. 7, 8, 9, 10, 
12, 14 and 15 without the text, on paper water-marked 
with the Symbol of Augsburg and below a small shield 
with the imperial Globe and Cross with double bar. 


(12). 


THE LIFE OF THE VIRGIN. 1506-1511. Wood-cuts. 


tS 


84 


85 


86 


87 


88 


89 


90 


91 


92 


93 


ALBRECHT DURER—Continued. 


THE HIGH PRIEST REJECTING JOACHIM’S OF- 
FERING. 


Bartsch 77. With the Latin text. 


ST. JOACHIM EMBRACING ST. ANNE. 
Bartsch 79. With the Latin text, on paper with the 
water-mark Hausmann 28. A trifle soiled. With the 
collector’s mark “E. W.” in Gothic capitals. 

ANOTHER IMPRESSION. 
Also with the Latin text and on the same paper. Very 
fine. 

THE BIRTH OF THE VIRGIN. 
Bartsch 80. With the Latin text, on paper with the 
water-mark Hausmann 28. Slightly repaired. 

THE PRESENTATION OF THE VIRGIN IN THE 

TEMPLE. 

Bartsch 71. Without the text, on paper water marked 
shield with two diagonal crossbars. 

THE MARRIAGE OF THE VIRGIN. 
Bartsch 82. Without the text, on paper water-marked 
crowned shield with two diagonal bars. 

THE VISITATION. 
Bartsch 84. Without the text, on paper water-marked 
“three connected small towers.” 

THE NATIVITY. 


Bartsch 85. Without the text. A very desirable print. 
From the W. Bell Scott colipcH oe 


THE CIRCUMCISION. 


Bartsch 86. Without the text, on paper water-marked 
“small high crown’ a variation of Hausmann 36. Good 
impression, with the collector’s mark “E. W.” in gothic 
capitals. 


THE ADORATION OF THE MAGII. 


Bartsch 87. Without the text, on paper water-marked 
“three connected small towers.” A very good impres- 
sion. 


14 


94 


95 


96 


97 


98 


99 


100 


101 


102 


103 


ALBRECHT DURER—Continued. 
THE PRESENTATION IN THE TEMPLE. 


Bartsch 88. Before the text. Proof; on paper water- 
marked “high crown.” Hausmann 21. Very fine im- 
pression; at the edges slightly repaired. 


THE FLIGHT INTO EGYPT. 
Bartsch 89. Without the text. Very good impression, 
on paper water-marked “crowned shield with two di- 
agonal bars.” 

THE REPOSE IN EGYPT. 


Bartsch 90. Without the text, on paper water-marked 
“shield with two diagonal bars.” 


CHRIST AMONG THE DOCTORS. 
Bartsch 91. Without the text, on paper water-marked 
“shield with two diagonal bars.” 

THE DEATH OF THE VIRGIN. 


Bartsch 93. Without the text, on paper water-marked 
with the “crowned double eagle.” With the collector’s 
mark Fagan 645. 


THE ASSUMPTION OF THE VIRGIN. 


Bartsch 94. Without the text on paper water-marked 
' “three connected small towers.” From the W. Bell 
Scott collection. 


THE ADORATION OF THE VIRGIN. 


Bartsch 95. Without the text, on paper water-marked 
“small crown’. 


THE LIFE OF THE VIRGIN. 1506-1511. 


Mare Antonio Raimondi’s copies on copper. Bartsch 
621-637. Only B. 629 missing. Late but good im- 
pression. From the Robert W. Weir collection. (16). 


THE HOLY FAMILY AND TWO ANGELS IN A 
VAULTED ROOM. 


Wood-cut. Bartsch 100. Very fine early impression. 
From the collection of Burleigh James. 


THE MARTYRDOM OF THE TEN THOUSAND. 
Wood-cut. Bartsch 117. Good impression. 
15 


ALBRECHT DURER—Continued. 
104 THE MARTYRDOM OF ST. CATHERINE. 
Wood-cut. Bartsch 120. The block shows worm holes. 


105 PORTRAIT OF ALBRECHT DURER. 
Carbon print after his own famous painting in Munich. 
In 8-inch Dutch oak and gilt front frame. 
HERMIT READING. Carbon print after Koninck. In 
334-inch Dutch oak frame. (2). 


Ss. ARLENT EDWARDS 
*106 MRS. ROBINSON. 


Mezzotint printed in colors (at one printing) after 
Thomas Gainsborough. Butler No. 5. Signed proof, 
the engraver’s own printing. In 14-inch gold frame 
with bow-knot top and offset corners. 


*107. THE BLUE BOY (Master Jonathan Buttall). 
Mezzotint printed in colors (at one printing) after 
Thomas Gainsborough. Butler No. 7. Signed proof, 
the engraver’s own printing. Very rare. In 1-inch 
gold frame with ornamental top and gold mat. 


*108 MISS FARREN (Countess of Derby). 
Mezzotint printed in colors. (at one printing) after 
Sir Thomas Lawrence. Butler No. 16. Signed proof, 
the engraver’s own printing. In 34-inch oval gold 
frame. 


*109 MRS. ROBINSON. 
Mezzotint printed in colors (at one printing) after 
George Romney. Butler No. 18. Signed proof, the 
engravers own printing, (edition limited to 175 im- 
pressions and the plate destroyed). In 34-inch oval 
gold frame. 


*110 VICTOIRE THERESE, (Fourth daughter of Louis 
XV.). 
Mezzotint printed in colors (at one printing) after 
Jean Marc Nattier. Butler No. 19. Signed proof, the 
engraver’s own printing. In 134-inch gold frame. 


16 


Sih 


*112 


e114 


*114 


B16 


*116 


Fil7 


S. ARLENT EDWARDS—Continued. 
SOPHIE ELISABETH, (Fifth daughter of Louis XV.). 


Mezzotint printed in colors (at one printing) after 
Jean Marc Nattier. Butler No. 20. Signed proof, 
the engraver’s own printing. In 134- inch gold frame. 


LUDOVICA TORNABUONI. 


Mezzotint printed in colors (at one printing) after 
Ghirlandaio. Butler No. 21. Signed proof, the en- 
graver’s own printing, (edition limited to 175 impres- 
sions and the plate destroyed). In 13%-inch gold 
frame. 


LADY HAMILTON. 


Mezzotint printed in colors (at one printing) after 
George Romney. Butler No. 24. Signed proof, the 
engravers own printing. In 1%-inch oval gold frame. 


PATIENCE. (Mrs. Drummond Smith). 


Mezzotint printed in colors (at one printing) after 
George Romney. Butler No. 25. Signed proof, the 
engravers own printing, (edition limited to 175 im- 
pressions and the plate destroyed). In 1%-inch oval 
gold frame. 


THE MUSIC LESSON. 


Mezzotint printed in colors (at one printing) after 
Nicolas Lancret. Butler No. 26. Signed proof, the 
engravers own printing, (edition limited to 175 im- 
pressions and the plate destroyed). In 13-inch gold 
frame, shaped like the print. 


THE GARDEN PARTY. 
Mezzotint printed in colors (at one printing) after 
Nicolas Lancret. Butler No. 27. Signed proof, the 
engraver’s own printing, (edition limited to 175 im- 
pressions and the plate destroyed). In 13-inch gold 
frame shaped like the print. 


NATURE. 


Mezzotint printed in colors (at one printing) after 
Sir Thomas Lawrence. Butler No. 28. Signed proof, 
the engraver’s own printing, (edition limited to 175 im- 
pressions and the plate destroyed). In 1)4-inch cir- 
cular gold frame. 


17 


*118 


*119 


*120 


an 


salt & 44 


#123 


*124 


S. ARLENT EDWARDS—Continued. 
THE PINK BOY. 


Mezzotint printed in colors (at one printing) after 
Thomas Gainsborough. Butler No. 30. Signed proof, 
the engraver’s own printing. In 1%-inch gold frame. 


SYMPATHY. | 
Mezzotint printed in colors (at one printing) after 
Jean Baptiste Greuze. Butler No. 31. Signed proof, 
the engraver’s own printing, (edition limited to 175 im- 
pressions and the plate destroyed). In 1%-inch oval 
gold frame. , é 


DUCHESS OF RUTLAND. 
Mezzotint printed in colors (at one printing) after 
Sir Joshua Reynolds. Butler No. 32. Signed proof, 
the engraver’s own printing, (edition limited to 175 im- 
pressions and the plate destroyed). In 1%-inch gold 
frame. . 


LADY SOPHIE MUSTERS. 
Mezzotint printed in colors (at one printing) after 
Sir Joshua Reynolds. Butler No. 33. Signed proof, 
the engraver’s own printing, (edition limited to 175 im- 
pressions and the plate destroyed). In 1%-inch gold 
frame. 


LADY ELIZABETH COMPTON. 
Mezzotint printed in colors (at one printing) after 
Sir Joshua Reynolds. Butler No. 34. Signed proof, 
the engraver’s own printing, (edition limited to 175 im- 
pressions and the plate destroyed). In 1%-inch gold 
frame. | 


BOSSOM FRIENDS (Miss Bowles). 
Mezzotint printed in colors (at one printing) after 
Sir Joshua Reynolds. Butler No. 35. Signed proof, 
the engraver’s own printing. In 1%4-inch gold frame. 


MONA LISA. 
Mezzotint printed in colors (at one printing) after 
Leonardo da Vinci. Butler No. 36. Signed proof, 
the engraver’s own printing. Somewhat foxed. In 
134-inch gold frame. 


18 


"125 


*126 


rie 


#128 


*129 


*130 


eine 9 


S. ARLENT EDWARDS—Continued. 

LA BELLE FERRONNIERE. 
Mezzotint printed in colors (at one printing) after 
Leonardo da Vinci. Butler No. 37. Signed proof 


the engraver’s own printing. In 2-inch octagonal gold 
frame. 


BAPTISTA TORNABUONI. 
Mezzotint printed in colors (at one printing) after 
Ghirlandaio. Butler No. 38. Signed proof, the en- 
graver’s own printing, (edition limited to 225 impres- 
sions and the plate destroyed). In 1-inch. bronzed 
chestnut frame. 


MRS. DAVENPORT. 


Mezzotint printed in colors (at one printing) after 
George Romney. Butler No. 39. Signed proof, the 
engraver’s own printing. In 14-inch gold frame. 


MASTER LAMPTON. 


Mezzotint printed in colors (at one printing) after 
Sir Thomas Lawrence. Butler No. 40. Signed proof, 
the engraver’s own printing. In 7%-inch gold frame. 


LADY MEARS. 
Mezzotint printed in colors (at one printing) after 
Thomas Gainsborough. Butler No. 41. Signed proof, 
the engraver’s own printing, (edition limited to 175 


impressions and the plate destroyed). Somewhat 
foxed. In 1%-inch gold frame. 


LADY NORTON. 
Mezzotint printed in colors (at one printing) after 
Sir Joshua Reynolds. Butler No. 42. Signed proof, 
the engraver’s own printing. In 1'%-inch oval gold 
frame. 


COUNTESS OF MEXFORD. 
Mezzotint printed in colors (at one printing) after 
John Hoppner. Butler No. 46. Signed proof, the 
engraver’s own printing, (edition limited to 175 im- 
pressions and the plate destroyed). In 1%-inch oval 
gold frame. 


19 


#132 


*133 


*134 


*135 


*136 


sat £3" 


*138 


Ss. ARLENT EDWARDS—Continued. 


MIRANDA (Frances Anne, daughter of Sir Harry 
Vane). 
Mezzotint printed in colors (at one prinitng) after 
Thomas Gainsborough. Butler No. 47. Signed proof, 
the engraver’s own printing. Somewhat foxed. In 
34-inch gold frame. 


AUGUSTA SOPHIA( Daughter of George III.). 
Mezzotint printed in colors (at one printing) after 
Thomas Gainsborough. Butler No. 48. Signed proof, 
the engraver’s own printing, (edition limited to 175 
impressions and the plate destroyed). In Z-inch 
gold frame. 


DUCHESS OF DEVONSHIRE AND CHILD. 


Mezzotint printed in colors (at one printing) after 
Thomas Gainsborough. Butler No. 51. Signed proof, 
the engraver’s own printing. Slightly foxed. In 134- 
inch gold frame. . 


THE SISTERS (the Ladies Falkland). 


Mezzotint printed in colors (at one printing) after 
John Hoppner. Butler No. 53. Signed proof, the 
engraver’s own printing. In 1%4-inch gold frame. 


ANOTHER IMPRESSION OF THE SAME. 


Butler No. 53. First state; before the circular border. 
Signed remarque proof, the engraver’s own printing. 
In 34-inch gilt chestnut frame. 


THE DAUPHIN. 


Mezzotint printed in colors (at one printing) after 
Mme. Vigée Le Brun. Butler No. 54. Signed proof, — 
the engraver’s own printing. In 7%-inch gold frame. 


LADY HAMILTON. 
Mezzotint printed in colors (at one printing) after 
George Romney. Butler No. 64. Signed proof, the 
engraver’s own printing. In 1-inch bronzed chestnut 
frame. 


20 


S. ARLENT EDWARDS—Continued. 


*139 LOUISE DE BOURBON (Duchess du Maine). 


140 


14] 


142 


143 


144 


145 


Mezzotint printed in colors (at one printing) after 
Pierre Mignard. Butler No. 74. Signed proof, the 
engraver’s own printing. In 14-inch bronzed carved 
frame. 


ETCHINGS 


PAIN TER-ETCHINGS. 
By Bleury, Brandard, Carmienke, De Boissieu, De 
Cock, Grob, Gautier and Le Gros. (9). 

ETCHINGS. 


By Courtry, Cucinotta, Lalauze, Lowenstam and Mlle. 
Marie Louveau, after A. Tadema, Vibert and others. 


(6). 
VIEWS OF ROME AND ENVIRONS. 
Etchings. Printed on loose India paper. (6). 


ALBERT FLAMEN 


DIVERS FRESH WATER FISH;; Second part. 


Etchings. Bartsch 49-54. Very good old impressions. 
(6). 


HENRY FARRER (N. Y. Etching Club) 
CALM TWILIGHT VEILS THE SUMMER SKY. 
1893. 


Original etching. Signed remarque proof on vellum 
paper. Good for framing. 


MARIANO FORTUNY 


DIPLOMATE. 
Painter-etching. Beraldi 24. 


HOMME SE ROULANT A TERRE. 
Painter-etching. Beraldi 27. Both proofs on loose 
India paper with the artist’s signature stamped on it. 


FANTASIE. Proof on India paper. 
MANDOLIN PLAYER. Reproduction. 
SNAKE CHARMER. Etching, by Boivin. (5). 


21 


146 


147 


148 


149 


150 


151 


HONORE FRAGONARD 


HENRI IV., SULLY ET GABRIELLE. 1824. 
Line-engraving, by P. N. Geraut. 

FUNERAL OF MARIE LOUISE OF BOURBON, Queen 
of Spain. Line engraving, by G. Petrini, after F. Fer- 
rari. From the J. Peoli collection. 

CELEBRATION OF RESTITUTION OF THE STAT- 
UE OF HENRI IV. ON PONT NEUF, PARIS, 
under Louis XVIII. Engraving in crayon manner. 
Engraver unknown. (8). 


FRAMED PICTURES 


ANTIQUE SCULPTURES. 
Sixteen photographs under glass. (16). 


BRAHMS, THE COMPOSER, AT THE PIANO. 
In 1-inch bone-ebony frame. 

JOSEPH JOACHIM, THE GREAT VIOLINIST. 
After Willy von Beckenrath. In '%-inch bone ebony 
frame. Both fac-similes of black chalk drawings. 

JOSEPH JOACHIM. Photograph from life. In 1¥%-inch 
English oak frame. (3). 


CALVIN’S LAST INTERVIEW WITH THE SYN- 
DICS AND SYNOD OF GENEVA. 
Engraving by W. Geller, after Joseph Hornung. Col- 
ored by hand. In 34-inch bone-ebony frame. 
THREE LANDSCAPES, Etchings by E. L. Field, T. 
O. Anderson and Jas. Fagan. Two in 2%-inch antique 
oak and gold frames, and one in 134-inch Florentine 
gilt frame. (4). 


IN DOUBT—NO DOUBT. 
Gouaches by A. N. Husenett. In 134-inch antique oak 
frame. 

A TIGER’S HEAD. Pastel painting by the same. In 3- 
inch bone-ebony frame. (2). | 


PORTRAIT OF JOSEPH JOACHIM. 
Etching by Paul Rajon, after G. T. Watts. Proof 
from the first hundred. In '%4-inch bone-ebony frame. 
PORTRAIT OF LUDWIG VAN BEETHOVEEN. 
Carbon print after Lorenz Lloyd. In 2%-inch English 
oak frame.i\(2). 


152. 


153 


154 


155 


156 


oatae 


158 


159 


FRAMED PICTURES—Continued. 


LADY IN HAT AND COAT HOLDING A ROLL OF 
PAPER. 
Original drawing in two chalks. 

REPORT IN CAMP. Original drawing in black chalk. 
Both signed with the monogram J. A. Covered with 
glass. (2). | 

TWO LANDSCAPES. 


By A. Boecklin. Carbon prints. In 3%-inch bone- 
ebony frame. 


BUST OF A GIRL. Carbon print. In 2-inch dull Eng- 
lish oak frame. 
UPRIGHT LANDSCAPE. 


By A. Boecklin. Carbon print. In 234-inch bone- 
ebony and silver front frame. 


LURLEY. By A. Boecklin. Carbon print. In 3-inch 
bone-ebony frame. (2). 


PORTRAIT OF PROFESSOR PASTEUR. 


Etching by Henri Lefort, after Edelfelt. Dedication 
proof to Charles Besnard. In %-inch bone-ebony 
frame. 


PORTRAIT OF SWIFT, MOLIERE AND LOCKE. 
Engravings by B. Holl and J. Posselwhite. In 3¢-inch 
polished ebony frame. (2). 


EIGHT FLOATING FIGURES. 
Oil paintings after the frescoes in Pompeii. In 1%4- 
inch flat gold frame. (4). 

THE REGION OF JOY. 
By A. Boecklin. Carbon print. In 4-inch bone-ebony 
frame. 

THE SECRET. 
Etching by Leopold Lowenstem after Alma Tadema. 
Remarque proof on rice paper, signed by both artists. 
In 2%-inch gilt chestnut frame. 

ST. CYPRIANUS; Bishop. 
Printed and embossed on leather and painted over. 


Repaired. In 2%%-inch black walnut frame. 
2a 


FRAMED PICTURES—Continued. 


160 TOUCHES OF SWEET HARMONY. 


Photogravure after Maud Goodman. Proof on India 
paper. In 34-inch renaissance gold frame. 


161 BUST OF A GIRL WITH A ROSE IN HER HAIR. 
Pastel painting by Fromke. In l-inch gilt chestnut 
frame. 


JAPANESE SILK EMBROIDERY. Two storks on red 
background. In 134-inch flat English oak frame. (2). 


24 


162 


163 


164 


165 


SECOND SESSION 


Friday Evening, October 20, 1916, at 8:15 o’clock 


. Lots 162 to 317 


FERDINAND GAILLARD 


LA VIERGE DE LA MAISON D’ORLEANS. 1869. 
Engraving after Raphael. Beraldi 26. Fifth state; 
on India paper. 


ST. SEBASTIEN. Engraving by Leopold Flameng, after. 
Leonardo Da Vinci., Beraldi 211. Signed artist’s 
proof on India paper. (2). 


LUCIEN GAUTIER 


WINDSOR CASTLE. 1884. 


Etching after his own design. Signed remarque proof 
on Japanese vellum. Good for framing. 


CLAUDE GELLEE (called Le Lorrain) 
PAINTER-ETCHINGS. 


Twenty-one including the Bouvier and the Sunset. 
Robert-Dumesnil 1, 2, 3, 4, 5, '7, 8, 9, 10, 11, 12, 13, 14, 
15, 17, 19, 20, 21, 22, 23 and 27. Also three etchings 
by D. Barriere after paintings by Claude Gellée. All 
printed on loose India paper. This lot comprises all 
important plates of the master and is lacking only Nos. 
6, 16, 24, 25 and 26 of his landscapes. (24). 


JEAN LEON GEROME 


LE FUMEUR EGYPTIEN. 
Painter-etching. Beraldi No. 1. Proof on Whatman 
paper. 

CESAR MORT. Painter-etching. Beraldi No. 3 Second 
plate, on etching paper. 

A GUARD HOUSE IN CAIRO. Etching by P. A. Rajon. 

ARNAUTS PLAYING DRAUGHTS. Etching by H. 
Valentin. (4). 


25 


G. STORM VAN’S GRAVESANDE 
166 RETURN FROM FISHING. 


Painter-etching. Proof on Whatman paper; with un- 
trimmed margin. 


SIR FRANCIS SEYMOUR HADEN 


*167 EGHAM. 1859. 
Painter-etching. Harrington No. 15. Third state. 
Proof on very thin “V. G.”’ paper. 

168 EGHAM LOCK. 1864. 
Painter-etching. Harrington 16. Second state; the 
sky is cleaned and the signature removed. In “Etudes 
a l’eau-forte.” Signed proof on thin laid paper. 

169 OUT OF STUDY WINDOW. 1862. 
Painter-etching. Harrington 18. First finished state. 
In “Etudes a l’eau-forte.” Signed proof on thin laid 
paper. 

170 FULHAM. 
Painter-etching. Harrington 19. Second state; the 
church tower is broader, etc. In “Etudes a leau- 
forte.” Signed proof on Whatman paper. 

171 KIDWELLY TOWN. 1859. 


Painter-etching. Harrington 24. First published state. 
In “Etudes a l’eau-forte.” Signed proof on thin laid 


paper. 

172 THE TWO ASSES. 1867. 
Painter-etching. Harrington 50. Second state. In 
“Fine Arts Quarterly Review, 1867.” Proof on plate 
paper. 

173 BATTERSEA REACH. 1863. 


Painter-etching. Harrington 52. First published 
state. Proof on thin laid paper. 


174 KENARTH. 1864. 


Painter-etching. Harrington 64. First published 
state. In “Etudes a l’eau-forte.” Signed proof. On 
very thin laid paper. 


26 


i le 


SIR FRANCIS SEYMOUR HADEN—Continued. 
175 THAMES DITTON—WITH A SAIL. 1864. 


Painter-etching. Harrington 73. Second state; the 
lower part with the inscription covered while being 


printed. Proof on Japan paper. From the collection 
of Otto Bacher. 


176 BRENTFORD FERRY. 1864. 

| Painter-etching. Harrington 75. First published 
state. In “Etudes 4 l’eau-forte.”’ Signed proof on 
thin laid paper. 

177 KEW SIDE. 


Painter-etching. Harrington 82. First published state. 
In “Etudes 4 Veau-forte.”” Proof on thin laid paper 
with the water-mark “Crowned shield with bugle.” 


178 SUNSET ON THE THAMES. 1865. 

Painter-etching. Harrington 93. Second state. In 
“Etudes a l’eau-forte.” Signed proof on heavy laid 
paper, with water-mark “D. & C. Blauw.” 


179 TWICKENHAM CHURCH. 1865. 
Painter-etching. Harrington 107. First published 
state. Proof on heavy van Gelder & Zoonen paper. 


180 THE FEATHERS TAVERN. 
Painter-etching. Harrington 118. First published 
state. Fine impression, full of burr, on heavy laid 
paper. 

181 THE TURKISH BATH—WITH TWO FIGURES. 


Painter-etching. Harrington 133. Second state. Sign- 
ed proof on Creswick paper. 


*182 DUSTY MILLERS. 1877. 
Painter-etching. Harrington 182. Trial proof B. 
with shading in pencil on the lower part of the house 
to the left. On thin Japan paper. Signed and dated 
Jan. 6, 1878. Slightly foxed. 

183 HARLECH. 1880. 
Mezzotinted painter-etching. Harrington 212. First 
pubished state. Signed proof on Creswick paper. 


27 


SIR FRANCIS SEYMOUR HADEN—Continued. 

184 COWDRAY CASTLE WITH GEESE. 1883. 
Painter-etching. Harrington 221. Print from the 
electrotype. 

185 A SALMON RIVER. 1884. 


Mezzotinted painter-etching. Harrington 226. Second 
state. Proof on plate paper. 


ALEX HERMANN HAIG 


*186 INTERIOR OF A CATHEDRAL. 
Original water color sketch. Not published. 


PHILIP GILBERT HAMERTON 


187 CHESTNUTS AT BARANGER. 
Painter-etching. Proof on etching paper. 
THE BABY HOUSE. Painter-etching by J. E. Millais. 


Proof on India paper. 


PROMENADE IN THE PARK. : Painter-etching. Ar- 
tist’s proof on etching paper. (8). 


ARTHUR HOEBER 


188 ON THE NANTICO RIVER. 1891. 


Original etching. Signed remarque proof on vellum 
paper. Good for framing. 


WILLIAM HOGARTH 


189 HUDIBRAS.. 
Twelve original etchings illustrating Saml. Butler’s 
poem, inclusive the title, with the author’s portrait. 
Very good impressions with untrimmed margins (deckel 
edges) 2012). 

190 BEER STREET. GIN LANE. 
Original etchings. Good impressions with very large 
margins. (2). 

191 THE RAKE’S PROGRESS. 
Eight original etchings. Very good impressions with 
big margins. A very even set. (8). 


28 


199 


WILLIAM HOGARTH—Continued. 
THE FOUR STAGES OF CRUELTY. 
Original etchings. Good impressions; wide margins. 
(4). 
ST. PAUL PREACHING. 


Original etching. Good impression with small margin 
showing the plate mark. 


WENZEL HOLLAR 


THIRTY SIX FEMALE COSTUMES. 


From “Theatrum Mulierum.” Parthey 1804-1907. 
Also six other plates. Painter-etchings. Printed on 


loose India paper. (42). 
as 
rs 


J’ 


LEIGH HUNT (N. Y. Etching Club) 


A ROTTERDAM WHARF. 1886. 
Painter-etching. Signed proof on vellum paper. 


CHARLES JACQUE 


LE RETOUR DES CHAMPS. L’ABREUVOIR. 
L’HIVER. 
Painter-etchings. Prints on India paper. (3). 


LA MARECHALERIE. L’ABREUVOIR. 1866. 
Painter-etchings. Prints on India paper. (2). 


UNE AMITIE. LE PETIT PORCHER. L’ABREU- 
VOIR. 
Painter-etchings. Prints on India paper. (3). 


LEON JACQUE 


LE BERGER. MAISON DE PAYSANS. LA CHAS- 
SE AUX CANARDS. LA CAMPAGNE. LE 
MOULIN DE LA GALETTE MONTMARTRE. 

Painter-etchings. All fine impressions with the address 
of A. Cadart et Luquet. On aqua-fortistes paper. (5). 


29 


JULES JACQUEMART 


200 PORTRAIT OF REMBRANDT. 


201 


202 


203 


204 


205 


206 


Etching after Rembrandt. Beraldi 270. Printed on 
plate paper, clean wiped. 

ANOTHER IMPRESSION OF THE SAME. On paper 
with water-mark “Arches,” printed with a tone. 

LE DEFILE DE NANCY. Etching after E. Meissonier. 
Beraldi 312. Printed on paper with the water-mark 


“ B. F. K. on a shield.”’ Also two other etchings by 
the same. (5). 


JOHANN BARTHOLD JONKIND 


L’ESCAUT A ANVERS, soleil couchant. 1868. 


Painter-etching. Beraldi 15. Proof on Japan paper. 
Also eight other etchings by Brunet- qeshaine Meunier, 
Murray, Vollon and others. (9). 


MAX KLINGER ot 
ADAM AND EVE ON THEIR KNEES BEFORE 
DEATH AND THE DEVIL. [. 
Painter-etching. Signed proof on India paper. 5 ; 
A DRAMA. i 


Ss: 
Painter-etching. Signed proof on India paper. Fei j 
ed by the artist ‘““Premier état premier épreuve.”’ 


J eae 

NACHTLICHE LEKTURE, (Reading at night). 3, 7 5 oe 
Painter-etching. Signed proof on India paper. 

THE WITCH. | - ae a 35: 


-— — 
Original aquatint. Signed proof on India paper. a y 3 
MARBLE BUST OF MAX KLINGER. | 
By Carl Seffner. 


GIRL BATHING. DRAMA. AMPHITRITE. TWO 
FIGURES from the base of “Christ on Mount Olym- 


pos.” 
All heliotypes from the original marbles, published in 
“Pane to): 


30 


207 


208 


209 


210 


211 


212 


MAXIME LALANNE 


VUE PRISE DU PONT ST. MICHEL. 
Beraldi 8. On aqua-fortistes paper. 
THREE SKETCHES ON ONE PLATE. Beraldi 38. 


On paper with the water-mark “Three stars on a 


shield.” 
LE PONT DES ARTS ET LINSTITUT. Beraldi 39. 


On aqua-fortistes paper. 
BOULEVARD MONTMARTRE. 1884. On paper with 
the water-mark “W. King.” All painter-etchings. (4). 


LE PRINCE 


CHRIST AMONG THE DOCTORS. 1768. 


LAVIS. One of the earliest plates in this manner. Also 
an etching by G. de Lairesse. (2). 


LITHOGRAPHS 


LUTHER, MELANCHTON, BUGENHAGEN AND 
CRUCIGER TRANSLATING THE BIBLE. 


Lithograph by Jab, after Labouchére. 


COLLECTION OF LITHOGRAPHS. 


An interesting collection of Lithographs of the middle 
of the 19th century. (53). 


EDOUARD MANET 


LOLA DE VALENCE. 


Painter-etching. Beraldi No. 3. Second state; the 
background is shaded on aqua-fortiste paper. Published 
by Cadart et Luquet. 


UN BAR AUX FOLIES-BERGERE. Etching by H. 
Guerard. Beraldi 597. “Tres caracteristique.” Beraldi. 


FEMME A LA MANTILLE, dans le genre de Goya. 


Aquatinted painter-etching. Beraldi 12. Signed proof 
on etching paper. 


31 


213 


214 


215 


216 


217 


218 


B. MANNFELD 


FRIEDRICHSRUH. 1894. 


Painter-etching. On plate paper. 
PORTRAIT OF PRINCE BISMARCK. Carbon print, 
after Lehnbach. Framed in 1-inch bone-ebony. (2). 


RAPHAEL URBIN MASSARD_ 
HOMER. 1816. 


Line engraving, after F. Gérard. 

CORINNE AT CAPE MISENE (with a portrait of Lord 
Byron). 1827. Line engraving, by Z. Prevost, after 
F. Gérard. Apell No. 4. Proof with the artists’ names 
engraved with the needle. Closely trimmed and a tear 
repaired, 

LE TESTAMENT DECHIRE. Line engraving by J.. 
C. Le Vasseur, after J. B. Greuze. Impression with 
the inscription. A tear repaired. (8). 


MASTER I. B. 
THE BAGPIPER AND A WOMAN. 


Painter-engraving. Bartsch 36. Circular. Good im- 
pression. 


ARMAND MATHEY-DORET 


THE VILLAGE HERO. 1889. 


Etching by M. de Munkacsy. Finished trial proof on 
Japan vellum, signed by the etcher. 


ERNEST MEISSONIER 


LE GRAND FUMEUR. 1843. 
Painter-etching. Beraldi 13. Proof on India paper. 
The artist’s masterpiece in etching. | 
LE SERGEANT RAPPORTEUR. 1862. 


Painter-etching. Beraldi 14. Proof on India paper, 
with Salmon’s address. 


32 


219 


220 


221 


222 


223 


224 


225 


ERNEST MEISSONIER—Continued. 
LES REITRES. 
Painter-etching. Beraldi 15. Proof on India paper. 
“Méme sujet que la derniére vignette du Lazarille de 


Tormes, qui représente Lazarille dans la compagnie de 
Messieurs les Allemands.” Beraldi. 


MONSIEUR POLICHINELLE. 
Beraldi 18. 

THE CRITIC. Engraving by Desclaux. 

THE SMOKER. THE ARTIST. THE STUDENT. 
THE GAME AT CARDS. Four reproductions of 
etchings. (6). 

PORTRAIT OF ALEXANDRE DUMAS. 


Etching by A. Mongin. Artist’s proof on India paper. 
Signed by the etcher and numbered “24”, 


CHARLES MERYON 


BAIN-FROID CHEVRIER. 1864. 
Painter-etching. Delteil 44. Sixth state; impression 
with the title. On paper with the water-mark “Hud- 
elist”’. 


E. METTENLEITER 


EMPEROR MAXIMILIAN AFTER A REVOLT. 1787. 
Etching. 

MAXIMILAN BEFORE TEROUANE. 1786. Etching 
by E. Verhelst. (2). 


CHAS. F. W. MIELATZ (N. Y. Etching Club) 


EVENING AT HICKFORD HARBOR, R. I. 1887. 
Original etching. Signed remarque proof on vellum 
paper. Good for framing. 


a 


J. E. MILLAIS 


THE PET BIRD. 1885. 
Mezzotint by T. L. Atkinson. 

INSIRPATION. 1891. Mezzotint by W. Henderson, 
after A. Piot. Both artist’s proofs on India paper, 
signed by both artists. Good for framing. (2). 


33 


JEAN FRANCOIS MILLET 


*226 RAMASSEUR DE VARECH. 


227 


228 


229 


230 


Painter-etching. Delteil No. 8. Proof on brownish laid 
paper. Large margin. 

FEMME VIDANT UN SEAU. Wood-cut by Pierre 
Millet. Delteil No. 32.. Proof on old laid paper. 
Large margin. | 

BECHEUR AU REPOS. Wood-cut by Pierre Millet. 
Delteil No. 34. Proof on Japan paper. Large margin. 

LA FILEUSE. 1869. 


Painter-etching. Beraldi No. 21. Proof on Holland 
paper. The plate is destroyed. 


JAN MULLER 


CHILON; Spartan Legislator. 


Line engraving. Bartsch III. No. 13. With “Cornelis 
Dankerts excud.” Bartsch praises this plate as phe- 
nomenal and says it puts its author among the most 
distinguished engravers. 


NAPOLEONA 


NAPOLEON EN RUSSIE. 
Lithograph by Carot. (Lith. Ligny). 


THE ROCK AT ST. HELENA. Line engraving by C. 
W. Strange, after P. Delaroche. (2). 


NEW YORK VIEWS 


HOMESTEAD OF OLIVER WENDELL HOLMES. 
POE’S COTTAGE. 


Etchings by J. La Pierre. Signed proofs on etching 
paper. Both in %-inch dull English oak frames. (2). 


TAMMANY HALL. 1830. 
From Valentine’s Manual 1865. | 
ST. PAUL’S, BROADWAY. MASONIC HALL, 
~ BROADWAY. CITY HALL, and two general views 
of New York. All small 4to. (6). 


34 


OLD MASTERS 


*232 ORIGINAL ETCHINGS. 
By Parmigiano, Callot and P. Troyen. (4). 


FELIX OUDART 


233 SOUS BOIS. 
Painter-etching. Beraldi 13. Proof on Japan paper. 


VITTORIA COLONNA. Etching by Felix Jazinski, 
after Jules Lefebvre. Beraldi 11. Signed remarque 
proof on Japan paper. (2). 


GEORGE PENCE 
234 MARCUS CURTIUS. 


Painter engraving. Bartsch 75. Good impression laid 
down on account of imperfections in the paper. 
235 THETIS ENTRUSTING TO CHIRON THE EDUCA- 
TION OF ACHILLES. 1543. 


Engraving. Bartsch 90. The right upper corner re- 
placed and laid down. 


MARC ANTONIO RAIMONDI 


236 MARS, VENUS AND CUPID. 1508. 
Engraving after Andrea Montegna. Bartsch 345. 


237 ST. JOACHIM EMBRACING ST. ANNE. 
Bartsch 623. 


THE PRESENTATION IN THE TEMPLE. Bartsch 
631. Laid down. Both engravings after Diirer’s wood- 
euts of the “Life of the Virgin.” (2). 


REMBRANDT VAN RIJN 


*238 CHRIST CHASING THE MONEY CHANGERS. 


Painter-etching. Bartsch 69. Second state before the 
general retouch. 


35 


239 


240 


241 


242 


243 


244 


245 


REMBRANDT VAN RIJN—Continued. 


THE AGONY IN THE GARDEN. About 1657. 


Painter-etching. Bartsch 75. Late impression on 
loose India paper. 


Also twelve copies after his etchings, by F. Vivares, all 
on loose India paper. 


Also two reproductions of his portraits of A. Franez, and 
the Gold Weigher. 


REMBRANDT IN HIS STUDIO. Etching by P. A. 
Rajon, after J. L. Gerome. 


THE RAT CATCHER. Painter-etching by Van Vliet. 
(18). 

CHRIST HEALING THE SICK. 
Etching by Leopold Flameng. Proof on Dutch paper. 
In 3%-inch renaissance gold frame. 

THE NIGHT-WATCH. 


Etching by Leopold Flameng. Second trial proof on 
Whatman paper; unfinished. 


PETER PAUL RUBENS 


ST. MAGDALEN. 
Etching attributed to Rubens. Dutuit 28. 


THE WOMAN WITH A CANDLE. 
Etching finished by Vorsterman or Pontius. Dutuit 46. 
Second state. 


A. RUNCIMAN 
PAINTER-ETCHINGS. (8). 


LUIGI SABATELLI 


PIETRO CAPPONI DENOUNCES THE PEACE 
TREATY BEFORE THE KING. 
Etching. LeBlanc III. No. 45. 


THE FALL OF THE TITONS. Original etching by 
Salvator Rosa. Bartsch XX. No. 21. With a tear in 
the lower part. 


36 


CHARLES B. J. F. SAINT-MEMIN 


*246 TWENTY PORTRAITS. 


24:7 


248 


249 


250 


251 


Among them Judge Dorsey, Edw. Johnson Coale, Chas. 
Sterritt and Mr. Walter, all of Baltimore. Mezzotint- 
ed etchings. 


Also five small original etchings by Ostrander. Among 
them two duplicates. Proofs on heavy Creswick paper. 


(25). 


H. PRUETT SHARE (N. Y. Etching Club) 
MEMOIRS. 1887. 


Etching after Jennie Brownscombe. Remarque proof 
on vellum paper, signed by both artists. Good for 
framing. 


MARTIN SCHOENGAUER 
CHRIST PRESENTED TO THE PEOPLE, from the 
Passion. 


Painter-engraving. Bartsch 15. Good old impression, 
but laid down on account of imperfections. From the 
Heywood collection. Very rare. 


THE ENTOMBMENT, from the Passion. 


Painter-engraving. Bartsch 18. Good old impression, 
but the two upper corners have been lost and are re- 
placed by other paper, also a few other imperfections 
carefully repaired. Very rare. 


J. T. SMITH 


SEVENTEEN LANDSCAPES. 
Including one by Bonnevoy. All painter etchings. (17). 


W. STRANGE 


JOSEPH AND POTIPHAR’S WIFE. 1769. 
Line-engraving, after Guido Reni. LeBlanc No. 3. 
Second state, with margin. 

THE GENIUS OF VICTORY. Line engraving by De 
Frey. Proof before all letters. 

ANDREO DEL SARTO. 1824. Line engraving by G. 
Saunders, after A. Del Sarto. Apell No. 4. (3). 5 


3 


ALMA TADEMA 


252 A FAVORITE AUTHOR. 1889. 


Etching finished with the graver by L. Lowenstam. 
Remarque proof on Japanese tissue, signed by both 
artists. Laid down. 


THE PARTING KISS. Line engraving by Aug. Blan- 
chard. Artist’s proof on India paper, signed by both 
artists. The margin cut down and a tear repaired. 


G25) 


JACQUES TISSOT 
253 LA GALERIE DU CALCUTTA. Souvenir d’un bal a 
bord. 1876. 
Original dry-point. Beraldi 18. Proof on laid paper 
with the etcher’s stamp in vermillion. 
254 PRINTEMPS. 1878. 
Original dry-point. Beraldi 27. Signed proof on 
Japan paper, with the etcher’s stamp in vermillion. 
255 TRAFALGAR TAVERN, Greenwich. 1878. 
Original dry-point. Beraldi 28. Proof on old van 
Gelder paper. 
256 LE CROCKET. 1878. | 
Original dry-point. Beraldi 29. Proof on old “M. 
Schouten & Co.” paper. 
257 LE PORTIQUE DE LA GALERIE NATIONALE A 
LONDRES. 1878. | 
Original dry-point. Beraldi 32. Signed proof ion 
heavy “van Gelder” paper, with the etcher’s stamp in 
vermillion. ; | 
258 L’ETE. 1878. 
Original Dry-point. Beraldi 35. Proof on heavy 
“van Gelder” paper. : 
259 LE HAMAC. 1880. 


Original dry-point. Beraldi 37. Signed proof on old 
‘ “L. Paine” paper, with the etcher’s stamp in vermillion. 


38 


260 


261 


262 


263 


264 


265 


266 


267 


_JACQUES TISSOT—Continued. 
SUR L’HERBE. 1880. 


Original dry-point. Beraldi 41. Proof on old “L. 
Paine” paper. 


EN PLEIN SOLEIL. 1881. 


Original dry-point. Beraldi 45. Signed proof on “B. 
F. K.” paper with the etcher’s stamp in vermillion. 


SOIREE D’ETE. 1882. 
Original dry-point. Beraldi 47. Proof on Japan paper. 


CHAS. JOHN TOMKINS 


LITTLE LORD FAUNTLEROY. 


Mezzotint after S. Sant. Artist’s proof on India paper, 
signed by both artists. Good for framing. 


J. M. W. TURNER 
JUNCTION OF SEVERN AND WYE. 1811. 


Mezzotinted painter-etching. Rawlinson 28. Fine im- 
pression with full margin. 

MARTELLO TOWERS, near Bexhill. 
Rawlinson 34. 

WATER CRESS GATHERERS. Rawlinson 62. 


HEDGING AND DITCHING. All three painter-etch- 
ings before they were mezzotinted. (3). 


ANTHONIE VAN DYCK 


THE CROWN OF THORNS. 


Dutuit IV. pp. 155-156. A. Fifth state; before the 
words “Cum Privilegio” are removed. Very good im- 
pression on paper with the water-mark “Two connect- 
ed towers.” Wibiral 17. Small margin. From the 
collection of Giuseppe Rocca. 


JAN BREUGHEL. 
Dutuit 1. Sixth state; the letters “G. H.” are re- 
moved. Good impression with small margin. 


39 


268 


269 


270 


272 


273 


274 


275 


ANTHONIE VAN DYCK—Continued. 


PIETER BREUGHEL. 


Dutuit 2. Fifth state; the letters “G. H.” are re- 
moved. Very good impression on paper -with the 
water-mark “J. C. Savaal.’’ Wibiral 23b with large 
margin. From the collection of R. Scholtz. 


.ANOTHER IMPRESSION OF THE SAME PLATE. 


Good impression on paper with the water-mark “Two 
interlaced C’s, above them a crown and below the let- 
ters “N. H.” Small margin. 


ANTHONIE VAN DYCK. | 
Dutuit 3. Third state; the date is removed, but be- 
fore Gillis Hendricx’s name was replaced by that of 
Verdussen. Good impression on paper with the water- 
mark “Bugle”. Small margin. 


DESIDERIUS ERASMUS. 
Dutuit 4. Third state; the letters “G. H.” are removed. 
Good impression on paper with the water-mark “Mon- 
ogram of Christ’. Wibiral 8d. Closely trimmed. 


FRANCISCUS FRANCK. 
Dutuit 5. Fifth state; the letters “G. H.” are re- 
moved. Good impression on paper with the water- 
mark “Two interlaced C’s, above them a crown and 
- below the letters N. H.” With large margin. 


JODOCUS MOMPER. 
Dutuit 7. Fifth state; the letters “G. H.” are removed 
and the plate is cleaned. Good impression on paper 
with the water-mark “Roman capitals F. S.” Large 
margin. 


ADAM VAN NOORT. 
Dutuit 8. Sixth state; the letters “G. H.” are removed. 
Good impression on paper with the water-mark “Two 
interlaced C’s, above them a crown and below the let- 
ters N. H.” With margin. 


PAUL DU PONT. 


Dutuit 9. Sixth state; the letters ““G. H.” are removed. 
Good impression on paper with the water-mark “Rom- 
an capitals F. S.”’ With good margin. 


40 


276 


277 


278 


279 


280 


281 


282 


283 


ANTHONIE VAN DYCK—Continued. 


JAN SNELLINX. ) 
Dutuit 10. Fifth state; the letters ‘““G. H.” are removed. 
Good impression on paper with the water-mark “Two 
interlaced C’s, above them a crown and below the let- 
ters N. H.” With margin. 

FRANS SNYDERS. 
Dutuit 11. Fourth state; the letters “G. H.” are re- 
moved. Good impression on paper with the water- 
mark “Roman capitals F. S.” Good margin. 

JUSTUS SUTTERMANS. j 
Dutuit 12. Fifth state; the letters “G. H.” are re- 
moved. Good impression on paper with the water- 
mark “Coat-of-arms of Amsterdam.” Wibiral 10e. 
Small margin. 

LUCAS VORSTERMAN. 
Dutuit 13. Fifth state; the letters “G. H.” are re- 
moved. Good impression, with small margin 


WILLEM DE VOS. 
Dutuit 14. Third state; with the letters “G. H.” un- 
fortunately erased with the knife. Fine impression on 
paper with the water-mark “Folly.” Wibiral 3f. Very 
large margin. 

PAUL DE VOS. 
Dutuit 15. Fifth state; the letters “G. H.” are re- 
moved. Good impression on paper with the water- 
mark ‘Phoenix in laurel wreath.” Wibiral 11c. . With 
margin. From the collection of the Duke of Buccleuch. 


JAN DE WAEL. 


Dutuit 16. Fifth state; the letters “G. H.” are re- 
moved. Good impression on paper with the water- 
mark “Big Flemish lion and below it in two lines Honig 
Jona. & C. 


These painter-etchings are either completely or at least 


partly etched by Van Dyck. 


ETCHINGS, after Van Dyck’s paintings. 
Eight etchings by Boulard, Gaujean, Hecht and Milius, 
after paintings by Van Dyck. Impression with the 
title on paper with the water-mark ‘‘Arches’”’. (8). 


41 


284 


285 


286 


287 


288 


289 


290° 


291 


292 


THEDOR VAN KESSEL 


SIX PLATES OF ANIMALS. 


Etchings after Jan van den Hecke. Printed on loose 
India paper. (6). 


LUCAS VAN LEYDEN 


ABRAHAM AND THE THREE ANGELS. 


Painter-engraving. Dutuit 15. Good old impression. 
A tear carefully repaired. 


LOT AND HIS DAUGHTERS. 1530. 
Painter-engraving. Dutuit 16. Good old impression, 
but slightly injured and stained. From the collection 

of W. Esdaile. 

SAMSON AND DALILA. About 1508. 
Painter-engraving. Dutuit 25. One of the larger plates. 
Fair impression, showing the beginning oxydation. 


CHRIST APPEARING TO MAGDALEN.  1519.. 
Painter-engraving. Dutuit 77. Fairly good impres- 
sion. From the collection of Fountaine Walker. 

ST. JEROME. 1513. 

Painter-engraving. Dutuit 112. Fairly good impres- 
sion with a collector’s stamp, possibly Fagan 189. 
MARS AND VENUS. 1530. 


Painter-engraving. _ Dutuit 137. One of the larger 
plates but not a very strong impression. 


ADRIAAN VAN OSTADE 


RURAL TENDERNESS. 
Bartsch 11. 


A MAN AND A WOMAN CONVERSING. B. 12. 
THE EMPTY PITCHER. B. 15. 

THE DOLL. B. 16. 

THE SCHOOLMASTER. B. 17. 

THE KNIFE THRUST. B.18. Painter-etchings. (6). 


SINGERS AT A WINDOW. 
Painter-etching. Bartsch 19. Seventh state. Good 
strong impression. From the Galichon collection. 


42 


293 


294 


295 


296 


297 


298 


299 


300 


301 


ADRIAAN VAN OSTADE—Continued. 

THE COBBLER. 1671. 
Painter-etching. Bartsch 27. Ninth state. A strong 
impression. 

THE PEDDLER OF SPECTACLES. Painter-etching. 
Bartsch 29. (2). 


SAYING GRACE BEFORE MEAL. 1653. 
Painter-etching. Bartsch 34. Fourth state. 


THE HURDY-GURDY PLAYER. 
Painter-etching. Bartsch 36. Third state. 


THE VIOLINIST AND THE LITTLE HURDY- 
GURDY PLAYER. 
Painter-etching. Bartsch 45. Fifth state. Strong 
impression. 


THE FEAST UNDER AN ARBOUR. 


Painter-etching. Bartsch 47. Sixth state. Very nice 
impression; a tear in the sky carefully repaired. 


THE FEAST UNDER THE BIG TREE. 
Painter-etching. Bartsch 48. Second state, strong 
impression, with a small tear carefully repaired. 
From the collection of Ch. Favet. 


THE DANCE IN A TAVERN. 
Painter-etching. Bartsch 49. Seventh state. Strong 
impression. 


THE LUNCHEON. 
Painter-etching. Bartsch 50. Eleventh state. 

THE TRIO. BOWLING. ‘Two etchings by Charles 
Jacque, after Ostade. (3). 


J. J. VEYRASSAT 


LE SUPPLICE DE JUDAS. 

Painter-etching. Proof on Whatman paper. 

UN MARECHAL A MORET. LE BAC. CHARETTE 
DE FOIN. Three etchings after his own paintings. 
On aqua-fortistes paper. (4). 

43 


302 


303 


304 


305 


306 


307 


308 


309 


CORNELIS VISCHER 
THE FOUR EVANGELISTS. 


Line engravings, after the engraver’s own designs. 
Dutuit VI. Nos. 10-13. First states; before the words: 
“Et Excudebat Harlemi 1650.” were added. (4). 


GERTRUDE. THEODORIC V. From the Dukes of 


Flanders. 


Line engravings, after P. Soutman. Dutuit VI. Nos. 
153 and 156. Third states; with “Corn. Visscher 
Sculp.” Closely trimmed. (2). 


CHARLES WALTNER 


HARMONY. 
Etching, after F. Dicksee. Finished trial proof with 


G. W. sc. 1879 (the 9 reversed), signed by the etcher. 
On soft Japan paper, with large margin. 


ANTONIE WATERLOO 
LANDSCAPE WITH A MAN SLEEPING BY THE 
ROAD. 


Painter-etching. Dutuit 49. One of a set of six, with- 
out numbers. 


JAMES ABBOTT McNEILL WHISTLER 


FUMETTE. 
Painter-etching. One of the “twelve etchings from 
Nature.” Kennedy 13. Fourth state; proof on thin 
Japan paper. 

LA RETAMEUSE. 
Painter-etching. One of the “twelve etchings from 
Nature.” Kennedy 14. Second state; proof on India 
paper with a large margin of plate paper. 

LA MARCHANDE DE MOUTARDE. 
One of the “twelve etchings from Nature.” Painter- 


etching. Kennedy 22. Fifth state; Delatre’s address 
is removed. Proof on old laid paper. 


LONGSHOREMEN. 1859. 
Painter-etching. Kennedy 45. The only state known. 
Proof on old laid paper. 


AA 


JAMES ABBOTT McNEILL WHISTLER—Continued. 

310 BILLINGSGATE. 1859. : 
Painter-etching. Kennedy 47. Eighth state. Proof 
on Whatman paper. 

311 THE FORGE. 1866. 


Original dry-point. One of the “sixteen etchings.” 
Kennedy 68. Fourth state. Proof with much burr, on 
thin Japan paper stretched on a cardboard. 


3812 MILL BANK. 1861. 
Painter-etching. One of the “sixteen etchings.” Ken- 
nedy 71. Third state; before the word “not” was added 
after “‘are’’ and before “London” was removed. Proof 
on old laid paper with an autograph dedication by 
the artist. 

318 THE LITTLE POOL. 1861. 


Painter-etching. One of the “sixteen etchings.” Ken- 
nedy 74. Eighth state; the two lines of lettering are 
removed. Proof on thin Japan paper. 

314 THE “ADAM AND EVE,” OLD CHELSEA. 
3 Painter-etching. Kennedy 175. Second state, with 
the butterfly. Proof on very thin laid paper. 


315 THE WINGED HAT. 
Original lithograph. Kennedy 25. Reprint of 1890. 
The first issue consisted of seventy-two proofs only. 
One of the most delicately finished of Whistler’s litho- 
graph portraits. 


ANDERS ZORN 


*316 PORTRAIT OF EX- PRESIDENT TAFT. 
Painter-etching 1911. 
Signed proof on Whatman paper. 


PORTFOLIOS 


317 TEN LINEN COVERED PORTFOLIOS. 
In good condition. One, 27 x 39; two, 24 x 30; one, 
19 x 25; one, 18 x 22; two, 15 x 20; six, 10 x 13%. 


(13). 
45 


: 1% 
S 


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